The scene opens up to two men walking, and the camera follows them. When they stop to converse, the camera begins to switch from person to person, back and forth. It switches between this, and getting shots of both men. As the scene progresses, the camera mainly shits to gauge the reactions of the younger looking man to the dialogue. Examining the audio, there is only dialogue. The conversation takes place in a parking garage, so there is a strong echo. The two men begin talking in anger very rapidly over one another, and it calms, and resumes, calms and resumes, in a very tidal pattern. Eberts analysis seems to fit this scene, as the more angry man stays to the left (negative), while the man who is more defensive stays to the right (positive). The setting of the scene also reminds us of Watergate, as the private and covert discussion takes place in a parking garage, something of a cultural unconscious memory. Earlier in the scene though, the younger looking man (the blonde one) is on the left (negative) as he is explaining his worry, and the older-seeming man, who acts as if he has a solution remains on the right (positive).
Creators of film use their unconscious to create scenes. There is no written guide to follow, but rather the individual’s aesthetic desires shape what is created. The same can be said of paintings or music. It’s mostly cultural influences that shape the unconscious mind. By stopping the film, we can catch a glimpse into these unconscious decisions and examine what shaped the filmmaker. Eberts analysis of the left (negative) and right (positive) of movie screens parallels that of Yin and Yang in Taoist thought, of two parallel sides that exist in tandem. They cannot exist without one another, but placing characters on either side can influence our unconscious into characterizing the individual as ‘good’ or ‘evil’, or can simply be used to reflect the feelings that the character has in the scene. This too, is a result of unconscious cultural decisions, how we examine the ‘left’ vs ‘right’ or at what angle the camera is tilted, or the coloring of the scene. Eberts analysis works, but only for films that exist within his same cultural sphere (western), as other cultures would have completely different views on the matter.
Kubrick commonly uses one aspect of filmmaking, that being the one point perspective. It allows the viewer to be drawn to a single point in the film, where something ought to happen. Everything in the periphery is simply that, in the background, shaping what is to come. In contrast, Tarantino uses a ‘from below’ viewpoint, which makes you feel as part of the movie. You are the person that the terrible thing happened to, you become part of the film, you feel what they are feeling. It makes you feel insignificant, a single part of the overwhelming whole.
These four photos show four individual design characteristics. The first, a picture of Richard Engel’s book demonstrates Color. It suits a book on conflict in the middle east to have the red and orange glow of combat and burning oil rigs in the background of a dark and cool night far from home. The next, a sign that reads “HISTORY” shows typography, as thin formal letters are superimposed onto an ‘archaic’ background that truly makes you think of years passed, kings long forgotten, and myths you don’t quite have right. The third is simply a a sign that says “Staff Only”, set to an empty background that is the epitome of minimalism. A blank, white on green on white tells you “there is nothing special here keep out” and nothing more. The final picture used is a commonly found “do not use elevator in the case of fire” signs found in every building over two stories that you’ve memorized over the years. But that’s exactly it, the red design mimicking fire draws us in, and then we memorize the information to keep longer than that plastic sign would in any hear over 100 degrees.
Unbelievable, but true, whatever search engine throwing these results must really turn people off before they find what they’re looking for. As I am unable to download the .gif for whatever reason (it has stayed on 2% for 15 minutes), here is the link to the online version.
Sitting at my desk at work, I am surrounded with a collision of the old and the new. Existing in a building that housed a school before Virginia was desegregated, is now a public library that caters to anyone, regardless of race, religion, nationality, gender, sexuality, or creed. Although I am confined to sit here for hours, proving computers and assistance in using them to all who walk in, I exist within a premier observer. Not only of the new and old, but of all the people that walk in, and all the events that occur here. Using my limited time, and limited range, I was able to capture a few photographs that put my view on display. Personally, tilting the camera to a radically new angle was able to give a new breath of life to a seemingly still photograph, and as you can see, I used that often.
The photos are in a Flickr, album. Assuming the embeded display here doesn’t work/is broken, here is the link (https://www.flickr.com/photos/156395145@N07/albums/72157685638829566).
I’m Chris, and I’m currently a Computer Science student at the University of Mary Washington in my hometown of Fredericksburg, Virginia. I currently work as a Public Computer Assistant at a local library’s computer lab, and I’m kind of a geek (GNU/Linux, SciFi, DnD, and so forth). My love of all things obscure and nerdy even led me to be ordained (as a legal minister) by the greatest UFO Cult ever, the Church of the SubGenius. I also have a soft spot for political philosophy, some of my favorite philosophers and icons being: Max Stirner, Pierre-Joseph Proudhon, Lysander Spooner, Benjamin Tucker, Nestor Makhno, and Henry George. So, I’m always game for a political debate.
However, my primary love is music, mostly Punk Rock and Heavy Metal (although I do enjoy most everything). Some of my favorite bands are Motley Crue, DRI, The Germs, Municipal Waste, and Children of Bodom. I even play bass in a Richmond-based Crossover Thrash band called Skumboyz (and maintain our online presence). We play all around the DMV (DC, Maryland, and Virginia) so feel free to come out sometime. I’ve attached a video of my band performing a cover of Minor Threat’s Seeing Red in the basement of some bar in north-west DC last July, as that is often how I spend my weekends. There are countless videos and pictures and audio clips of this pursuit of mine, but I personally think this exemplifies it the best.